Carus and the True Believers find their feet

23 October 2007 by Jordan Mulroney

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Carus and the True Believers find their feet

Album Rating: 4 / 5

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Carus and the True Believers

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Three Boxes

After three Eps and three albums, producer Greg Arnold has taken Carus and The True Believers to a whole new level in album quality, bringing the band together in their most musically cohesive album yet.

From the first track you can hear the refinement in the True Believers’ sound that characterises the album. The reproduction of ‘Born with a Broken Heart’, although still the same message commenting of Australia’s attitudes towards Aborigines, is complimented by a fantastic mandolin performance by John Bedggood.

From here the album does little to disappoint a keen Carus fan, with a recording of a live favourite, ‘Crash’. This ballad a description of family’s heartache of a brother and son that has gone off the rails is held together by drummer Jason McGann with a light beat, accompanied by the electric bass of Johnathon Zion. It is however the keys solo that captures that listener’s attention, a sweet addition to an elaborate set of lyrics. Track three presents listeners with a sombre story about a bitter relationship break up; capturing the hearts and minds of listeners with a most accessible set of lyrics. Musically this is a very cohesive tune that is highlighted by Bedge’s sweet violin and late member, Andy Fry’s double bass. A standout track both lyrically and thematically.

The title song, ‘Three Boxes’ is a personal Ballad, played solo by Carus Thompson. The lyrics, a hymn for any lonely traveller missing their loved ones, a tale known all too well by the musicians performing it every weekend all over the globe. These lyrics are complimented by a sweet acoustic melody, creating a reflective mood that is radiated throughout crowds in recent shows.

‘Downtown’ is a more upbeat track, representing a whole effort between band and producer to give birth to a much refined album. The light-hearted lyrical brilliance in this track shows the maturity of their lead member Carus Thompson, in his ability to turn simple into special. Additional is the unification of the True Believers in an accessible beat set by McGann, combined with the keyboard maestro of Bedggood and extra Maton in play by Arnold himself.

The central composition of the album, ‘Last Days of Winter’ is an emotive ballad telling of how relationships are won and lost. Carus again turns simple into special with an elaborate, yet accessible set of lyrics. The highlight personally was the addition of Zion’s electric bass work that gives the track musical vibrancy that stands out from the rest. Track seven, ‘Saturday in Singapore’, is a homesick ballad that sets the tone for the rest of the album. The gentle pulling of the double bass by Zion, combined with the slow harmonica and guitar melody create a solemn tone that allow listeners to concentrate on accessible lyrics that put the strongest of listeners into an introspective mood.

On the home straight, ‘Denmark to Sweden’, follows the journey of the band through Europe in recent years. The interconnection formed between the band members over these tours represented through a soft melodic overtone created by yet another outstanding performance by Bedggood’s key and string work held together by a tight beat set by McGann and Zion. ‘Warning Signs’ is a breath of fresh air with a strong harmonica intro that instantly grabs your attention for what is a passionate comment of society’s lack of insight into historical and modern parallels. Lyrics hit close to home, made effective by the reverb used in the bridge and following rhythm section bringing to light the collaborative genius of the band and producer.

The remastering of the timeless ballad, ‘Thrown’, is evidence of the musical connection between every musician on this record. Combining an old fan favourite lyrical arrangement with the percussive skills of McGann at his best and addition vocals of local counterpart Loren allows the song to slowly engrave itself into the hearts of listeners. A slow burning climax built up by McGann signals the musical maturity of the group, a sign of things to come from the band. The last track on the record brings musical intensity to a grinding halt and allows the listener to regather their emotions for what is a final cry from Carus, commenting on Australia’s lack of recognition for those who have being sacrificed for our lifestyle today. The lyrics challenge the listener and are brought to the forefront by the backing Hammond and vocals of Loren, a creative addition to the record. Overall the album is a fantastic collaboration of musical creativity and lyrical refinement, allowing for the development of a mature sound from the band that hasn’t been heard up until now.

As a group they have been growing together musically since the release of ‘Long Nights Are Gone’, their last album, in 2004; and we are finally beginning to see the fruits of this journey. Greg Arnold has successfully taken the band to a whole new level musically and with this has come the ability to produce, as Carus describes it, “a real album”. This album leaves you both with something to think about and wanting more as you hit the repeat button for yet another forty-five minute journey with four of Australia’s finest musicians on the indie scene today.